slow fashion

Fast Fashion is fast becoming a dirty business. Whilst reports suggest that Fast Fashion is the fastest growing sector of the entire apparel industry (FEE, 2017) it is also the second dirtiest industry in the world, surpassed only by Big Oil (Eco Watch, 2015). While these findings are shocking they’re unsurprising. Online and high street brands face a pressure to compete in a society where disposable incomes are on the decline whilst demand continues to climb. As a society, collectively we’ve become more conscious of the impact that our lifestyles are having on future generations as the threat of global warming can no longer be ignored. And yet, consumers continually experience cognitive dissonance when our purchases fail to match up to our environmental principles. In an effort to reduce this psychological torment, the Slow Fashion movement was born.

According to Clark (2008) slow fashion consists of three components; placing value on local resources and economies, transparency in the production system, and creating products with a longer usable life. Research has shown that consumers agree that the slow fashion movement is “an ideal situation that they would be striving to work toward” (Pookulangara & Shephard, 2013) but arguably one of the main factors holding consumers back from reaching their slow fashion goals is a lack of knowledge that both environmentally conscious and fashion forward brands actually exist.

One brand flying the flag of the Slow Fashion movement is KORLEKIE, a UK based luxury brand that combines hand woven fabrics & heritage techniques with sensual elegance. With a celebrity clientele that includes the likes of Alicia Dixon, Rita Ora and Tiwa Savage alongside features in i-D and Vogue KORLEKIE proves that utilising traditional craft techniques can give you a head start in the race to the top.

Korlekie designer Beatrice Newman (Left) and myself at the MADE BY KORLEKIE event hosted by Fvshion Dvting. Photography by Adaeze Ihebom.

MADE BY KORLEKIE event, Photography by Eyesweet Photography Ltd.

On the brand’s 4-year anniversary I was invited to the MADE BY KORLEKIE event, an archive of images and collections to introduce you to the story of KORLEKIE, hosted by Fvshion Dvting. Not only did I get the chance to see the stunning craftsmanship up close and personal, I was able to speak to KORLEKIE founder and creative director – Beatrice Newman. Taking her cue from Ghanaian Kente weavers, Newman has contemporised traditional weaving methods to produce unique and ornate structures that is simply unachievable in the fast fashion sector due to the sheer skill involved. When speaking to Newman I came to realise her Ghanaian heritage is literally interwoven into the fabric of the brand in more ways than one. Newman shares her middle name ‘Korlekie’ with her brand which translates to ‘Queen of Eagles’ by the Gaadangbe tribe in the eastern region of Ghana. Citing Grace Jones, the queen of androgyny herself, as one of her muses, Newman stated that the KORLEKIE woman is one that is unashamedly fierce, daring and takes a mindful approach to dressing.

Mindful dressing is a rapidly growing concept in the realm of slow fashion as consumers are gradually challenging the ‘treat yo self’ throw-away culture that encourages the temporary highs and lows of fast fashion purchases. Whilst its numerous advantages are somewhat undeniable, the sheer pace of fast fashion brands leaves it incapable of creating that personable experience that many consumers are craving.

Slow fashion brands like KORLEKIE have the advantage of a highly ethical and transparent business practice as well as a culturally rich background that, psychologically speaking allows consumers to forge genuine connections with every piece purchased. The result is the highly sought after ‘mindful shopping experience’ where need and beliefs can finally go hand in hand.

To see pieces from KORLEKIE’s latest collection visit their website here.

We are creatures witha love for material things, preferably an abundance of them, and clothes are no exception. In them, we look for and see the reflection ofour ever-changing identity, which in turn creates the urge for constant adaptations in style choices, for the purpose of refining our self-expression and self-perception (Niinimäki, 2010) With the global financial crisis came an alternation in the minds of consumers – it forced us to think in and act on necessities as opposed to desires. At least to an extent, that is.

The factors that made a difference

In addition to the difficult state of the economy all over the world, the evolution of fashion and us, its consumers, has been affected by several other related events. Environmental challenges have also shaped the mind of the consumer to think about the wellbeing of the planet, and the long-lasting effects or need for instant (purchase) gratification.

Growing unemployment rates, decreasing living standards in many corners of the world, and the unveiling of the myriad of unethical practices across fashion’s supply chains all contributed to the altered mindset of the consumer.

In the name of planetary survival the need for slow fashion has given birth to a rising number of brands that prioritize durability over pure numbers, but consumers have yet to follow suit. Young shoppers in particular are still enticed to make purchase decisions that aren’t aligned with their environmental beliefs, as fast-changing trends remain the key factor in their choices (Joy, Sherry, Venkatesh, Wang & Chan, 2012).

While trends have yet to learn this unyielding attitude that doesn’t change with each season (both literally and figuratively), fashion as a whole industry has made tremendous progress in the right direction.

Ethical production trumps quantity, while lasting items on offer have become the primary focus of many old and new brand namessuch as PACT apparel or People Tree, who bind fine craftsmanship with sustainability. Add to that the creation of authentic pieces that have character and that are deeply relatable, and you have a winning recipe for fashion success in the 21st-century climate.

Organic and recycled thoughts

As opposed to the “throw away” culture that has reigned supreme for decades on end, we’re now witnessing the growth of recyclable and reusable as the new go-to for long-lasting fashion items. Sustainably harvested fabrics and materials are in the center of production, while skin-safe and durable options such as organic cotton are at the forefront of the industry, as well, and the cross of the two qualities makes for a brilliant asset for quality-oriented consumers. Recycling, on the other hand, has also gained in popularity, and brands are doing their best to encourage their consumers to recycle and repurpose as opposed to reject their garments. Campaigns that invite their loyal customers to give their items back for repair, asthe outdoor gear brand Patagonia has the habit to do, are leading the way into a new fashion era of mindful shopping and wearing.

Brand success, however, still depends on more than just their sustainable footsteps, as consumers’ decisions are easily swayed bypoor in-store attributes and high prices (Chan & Wong, 2012). Such inconsistencies have the power to increase the dissonance between the consumer’s Earth-friendly attitudes and their final shopping choice – the latter may ultimately not reflect the former despite the ethical conundrum.

Fashion is no longer, if it ever was, as simple as “I need a pair of jeans, therefore, I’ll purchase the first one that fits”. But the digital rise has added a new layer of meaning to the consumerism game, and that isthe notion of experience. We crave for our shopping endeavors to be deeply personal, crafted by brands to accommodate our needs, and the final product is only a fragment of the sale.

So, instead of mindlessly buying, we’d rather opt for just one item, the one that epitomizes an experience. Convenience, availability, uniqueness and the shopping environment are several influential ingredients in this equation, so thrift stores, second-hand and vintage stores along with the DIY movement have experienceda wave of revival and greater interest. They all fit with the modern consumers’ need for clothing as practical items and a desire for fashion as an expression of their authentic, personal style (Reiley & DeLong, 2011).

In this environment, spurred with movement from both the consumer and the designer end, fashion has the potential to change the future of consumerism on a more profound, emotional basis, and with longevity paired with style at the center of this struggle.